ll of the children are free thinking independent-minded teenagers. The story is told from the point of view of Jack, one of the sons, the narrator who is entering adolescence with all of its curiosity and appetites that he must contend with (along with the sure confusion of what the children have done). Julie, the eldest, is almost a grown woman. Sue is rather bookish and observes all that goes on around her. And Tom is the youngest and the baby of the lot.
The children seem to manage in this perverse setting rather well until Julie brings home a boyfriend who threatens their secret by asking too many questions (like what is buried beneath the cement pile, etc), surely threatening the status quo (however morbid) that the children have come to accept as “normal” and as “home”. We understand through McEwan that home is not to be defined by anyone else but it is, instead, what you know and have known that makes you feel safe, even if it is rather dangerous and macabre.
‘I would give up the unessential; I would give my money, I would give my life for my children; but I wouldn't give myself.’
Heralded as one of the first instances of feminist literature and rejected at its time of publication by the literary set on grounds of moral distaste, Kate Chopin’s The Awakening caused consternation in 1899.
Constrained and confined by the limitations surrounding marriage and motherhood in the late 1800s, Edna Pontellier begins to challenge the notion of femininity through her thoughts and actions. Questioning her love for her husband, and opening herself up to the possibilities of other men and a life outside of societal convention leads to a gradual awakening of her desires.
Chopin’s fascinating exploration of one woman challenging the expectation that surrounds her is powerful, daring and ultimately tragic in its conclusions.